Lue lisää

The Glossary contains entries on most of the genres of Eastern Orthodox hymnography that are mentioned in the article by E. Kolyada “The Genre System of Early Russian Hymnography: the Main Stages and Principles of Its Formation” published in JISOCM, vol. 3. As an addendum to the article it gives the reader the key for…

Lue lisää

Lue lisää

Considering that so very little information about Russia’s late Mediaeval musical culture is available in English translation, it is the author’s intention to present a brief overview of the middle to late periods of Znamenny Chant and the “New Repertoires”. In the absence of such materials in English, foreign music students are at a great…

Lue lisää

The four ordinary chants (Gloria, Credo, Sanctus and Agnus Dei) that appear with Greek texts in Western manuscripts from the ninth century onwards and have come to been known as “Missa graeca”, still constitute one of the great mysteries in medieval liturgical chant. There are numerous hypotheses regarding the intent and use of these chants:…

Lue lisää

The panorama of the Orthodox Churches in Sicily today is particularly relevant. Among the choirs present in Sicily, an important role has been taken by the choir of the church of St Alessandro of Comana (Moscow Patriarchate) in Palermo. The cooperation between the regent, Irina Nedoshivkina Nicotra, and the author of this abstract has given…

Lue lisää

During the course of my continuing research into the music of Serbia, it was drawn to my attention by my friend and colleague Professor Bogdan Djaković that there were, in a certain choral archive in Belgrade, a number of adaptations of 16th-century Latin motets, with adaptations of the texts in Slavonic. Though intrigued, I was unable…

Lue lisää

My paper explores the hypothetical work of a musicologist of the future interested in church music sung in Bucharest in 2019. What evidence would such an musicologist find in manuscripts and printed books in order to reconstruct the repertoire chanted? What would he think about the repertories in use? What would he be likely to…

Lue lisää

Research on contemporary Orthodox church music has shown that there is a number of specific Orthodox chant traditions in Lithuania, which differ from the general model of Orthodox chanting in the country. Musical tradition is a quite rare term in ecclesiastical music research, and thus the author presents her perception of the term of Orthodox liturgical chant tradition in the context of her particular study. There are several specific liturgical…

Lue lisää

The spiritual symbology of liturgical phenomena have been the subject of several classic commentaries in the Byzantine patristic tradition, as well as of several modern scholarly studies. However, research on the senses, materiality and their effects on the liturgical experience is still in its early stages. Beyond the aesthetic wonder these phenomena aroused, they could…

Lue lisää

The period of the fourteenth and fifteenth centuries is extremely rich in the compilation of different traditions in the field of Balkan Orthodox music. One of the reasons for that might be attributed to the spread of the revised liturgical ordo of Jerusalem. Along with this ordo came the revival of hesychasm, a movement for…

Lue lisää

In the twentieth century, several Orthodox and Catholic theologians promoted an ecclesiology centred on the Eucharistic gathering. But while the sacrament of the Eucharist has typically been the focus of such “Eucharistic ecclesiologies,” the role of music in church services remains much less discussed. The Orthodox liturgy and patristic writers, such as the fourth-century St…

Lue lisää

Lux aeterna / Свете тихий (2018), composed for eight-voice SSAATTBB choir with organ accompaniment, is a work of ecumenical character. It was composed soon after the death of my father – Vyacheslav Mikhailovich Harkavyy (1940-2018) – using two texts: the Latin “Lux aeterna” (from the Roman Catholic Requiem Mass) and the Church Slavonic “Свете тихий”…

Lue lisää

Conceptions of Orthodox identity typically involve three important topics—dispute, validation, and diversity. This essay examines the use of instrumental music, specifically organs, within Orthodox parishes, a phenomenon localized mostly to churches of the Greek Orthodox Archdiocese of America, and the means by which debates around instrumental use form conceptions of Orthodox identity. After examining arguments…

Lue lisää

At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukachevo in what is now Ukraine promulgated an anthology of Carpatho-Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant.  While this book follows in the tradition of printed Irmologia found throughout the Orthodox and Greek Catholic…

Lue lisää

This paper describes the process behind the on-going work at St Tikhon of Zadonsk Monastery (South Canaan, Pennsylvania) to produce an abbreviated and practical Heirmologion to meet the needs of English-speaking monasteries and parishes within the tradition of the Russian Orthodox Church. The Heirmologion is unique among liturgical books in that it contains a single…

Lue lisää

The present contribution discusses Byzantine monastic foundation documents, dating from the ninth to the fifteenth century, through the lens of performance theory. As the author argues, the way these documents arrange liturgical performance is not egalitarian, but instead introduces different categories of performers and audiences among the monastic community, justifying this arrangement theologically with the…

Lue lisää

A recital programme, performed during the 2018 Pan-Orthodox Music Symposium "Orthodox Liturgical Music: Ancient & Modern Creativity", on 21 June 2018, in St Mary's Orthodox Cathedral, Minneapolis, USA.

Lue lisää

In education, one must consider opportunity costs---if one thing is taught another thing cannot be.  With Byzantine Beginnings I have focused on teaching the knowledge and skills necessary to learn to read heirmologic hymns (mostly syllabic hymns which tend to have the simplest rhythms and melodies).  In most traditional reading methods, students learn all of…

Lue lisää

The article explore Adam’s Lament, the first movement of Alfred Schnittke’s choral masterpiece, Penitential Psalms (1987–88) , commissioned to celebrate the 1000th anniversary of the Christianization of Rus’ (988–1988). These poems represent a genre of ancient Russian, lyrical poetry commonly referred as penitential poems; they are not “Psalms” in the Biblical sense, but do draw upon…

Lue lisää